Madrid, April 29, 2023.
When musical works become masterpieces, it is not without a reason, although their constant presence and fandom may seem hackneyed. Richard Wagner's Tristan und Isolde is a capital work in the history of music, and particularly in opera, as its famous inaugural chord, changed definitely the route that music would follow in the next century. And the admiration for this masterpiece, which depicts a tragic, psychological and metaphysical love story, is shown in Madrid, because of the several productions staged last twenty years, and by the enthusiastic response of the public to them, always with the tickets sold out.
In the remote past, in the turmoil times the city witnessed between the Teatro Real closing in 1925, and the first regular and A-class operatic seasons hosted by the Teatro de la Zarzuela in late 60s, Tristan was almost the only Wagner opera shown in town, alongside Lohengrin and Walküre.
In 1989, Montserrat Caballé sang the opera at the Teatro de la Zarzuela. After the Teatro Real re-opening in 1997, in 2000, it hosted perfrormances conducted by Daniel Barenboim on tour with the Berlin Staatsoper, with Siegfried Jerusalem as Tristan. In 2008, the madrileño operagoers had the privilege of seeing the legendary Waltraud Meier as Isolde, and in 2014, the famous video-staging by Peter Sellars and Bill Viola delighted the audience. In addition, in 2019 the National Orchestra of Spain gave two performances of this opera in a concert version, brilliantly directed by David Afkham, at the Auditorio Nacional.. Now it returns after four years since his last performance in Madrid and nine years since his last performance at the Teatro Real, again in a concert version, although with some stage indications by Justin Way, who places the orchestra on stage and the singers on the edge, moving along it. Lighting also plays an important role, which illuminates the entire hall at the end of the first and third acts, and in the love duet with a blue light that recreates the night. In addition, the young sailor and Brangäne are placed in the boxes in their off-stage interventions.
Semyon Bychkov returns to the Teatro Real after his unforgettable Parsifal 7 years ago. The Russian maestro is capable of making the Teatro Real Orchestra sound like a German one. This time, the orchestra was on stage, which made the sound lose a bit of the impact which usually emanates from the orchestra pit, now covered. Even so, Bychkov, one of the greatest Wagnerian conductors of today, achieved a majestic orchestral rendition, with slower tempi, despite some initial sound difficulties in the Prelude. But by the end of the first act it sounded rather tragic, elegy-like (especially the metal when the arrival of Tristan is announced), to conclude it spectacularly. In the second act, the love duet was quite an experience, since the orchestra's rendition became more intimate. The third act began with an interpretation of its prelude in which pathos was breathed, to then continue advancing with the same orchestral force of the preceding acts. Once again, Álvaro Vega, as he did in 2008 and in 2014, gave a beautiful and magical interpretation of the cor anglais solo in the third act, creating a special atmosphere. In fact, he was ovationed at the end. The Teatro Real Choir in its male section, shone in its brief intervention in the first act, exhibiting its outstanding tenor section.
In 2014, during the previous production of this work in this opera house, several tenors took replaced the scheduled Robert Dean Smith as Tristan, who due to illness had to cancel some performances. One of those replacements was the Austrian tenor Andreas Schager, who since his Madrid debut in 2012 with Rienzi, has become a sort of heldentenor of the house, having sung here Rienzi, Siegfried and again Tristan. Nowadays, being one of the most demanded Wagnerian tenors worldwide, he returns to this opera house, that has always applauded him enthusiastically, and this time as the leading Tristan. Schager was radiant in the first two acts, singing at the top of his voice with his heroic tone and vocal stamina. That could have rised some worry for the third act, but the tenor rose to the challenge: sometimes he was reserved, and in other moments he sang at the top of his voice as always, without sounding bad, which is an achievement in this score.
If Tristan was indisposed in 2014, it seemed this time it's Isolde's turn. The scheduled Ingela Brimberg has been replaced by Catherine Foster for the complete run of performances. Foster is one of the most sought-after Wagnerian sopranos today, having succeeded in Bayreuth as Brünnhilde, and last year as Isolde. The British soprano has surprised the audience with her performance, which has exceeded expectations. Foster has a youthful tone, more lyrical than dramatic, which makes her Isolde to sound as a very young woman. Her voice has enough volume to be heard all over the hall, and her intonation reveals her command of the character, which she handles with a certain sense of drama. The treble is firm and doesn't sound bad, without being too dazzling on the other hand. This lyrical approach to the role made her rendition sensitive and tender in the second and third acts, leaving a beautiful version of Liebestod. As a curiosity, Schager and Foster made history when they starred in the first performance of "Tristan und Isolde" after the pandemic global lockdown, in a reduced version for voice, violin and piano, performed at the Wiesbaden Opera in late May 2020, in a time when going to the opera was still a distant hope, just a longing for most operagoers worldwide.
However, it was Ekaterina Gubanova, with her outstanding Brangäne, who stole the scene every time she appeared on stage. The Russian mezzo-soprano had already sung the role in 2014 in this theater, but now with her beautiful and powerful voice, her imposing, authoritative tone and her stage presence, demonstrating her acting skills, she was able to overcome Foster as Isolde throughout the first act. In the second act, her vigil singing in the middle of the love duet, Einsam Wachend in der Nacht, was one of the highlights of the evening.
Thomas Johannes Mayer sang a good Kurwenal, with an already mature voice, but still terrific and above all a convincing acting, as Tristan's faithful vassal, especially in the third act.
Franz Josef-Selig sang the King Marke. He had already sung it in 2014 here, and as then, his performance was dazzling, among the best of the night. He sang his great monologue in the second act with a powerful voice, with beautiful and firm low voice, as if time didn't dent too much his singing in nine years.
The rest of the cast was at the same excellent level, although Neal Cooper's Melot sounded too "Mime-like", closer to the nibelung than to a medieval knight, but without detracting to the remaining cast. Jorge Rodríguez-Norton was an excellent Shepherd in the second act, in the same way that David Lagares sang the Steersman with a beautiful tonee in his very brief role. Alejandro del Cerro sang the Voice of the young sailor, a beautiful but not so easy intervention despite its brevity, but he approached it with his lyrical and youthful voice.
The passion of the Madrid audience for this opera is noticed, as I already pointed out at the beginning, with a full seat occupation, and above all with strong ovations at the end, for what could be the most complete cast of the current operatic season. We suppose, and we hope, that it won't take so many years to see this work again in the Spanish capital, which curiously alternates with some performances, this time staged, in Valencia, of the same title. Something that accounts for the popularity of this opera in Spain.
No hay comentarios:
Publicar un comentario